Recently there's been a lot of internet grumbling about a supposed Pokemon bootleg known as Pokemon Black. In fact, the game has turned into a bit of an urban legend, as nobody seems to actually possess a copy of this cart. Apparently Black is a hack of the original Game Boy's Pokemon Red which features a Pokemon called Ghost. Ghost can only use one attack called Curse. Using Curse instantly kills the opponent, so you naturally breeze through the game. Supposedly at the end of the game you become an old man, your horrible Poke-killing deeds flash before your eyes and then Ghost attacks you -- which invariably ends badly for you.
Many message boards have gone into a frenzy discussing this game, though nobody can seem to prove its existence. However one group of ROM-hackers have decided to try to make the game a reality, though it will be in the form of a patch that can be applied to the GBA's enhanced remake FireRed.
I recently contacted Team Creepy Black to get some details and share them with readers of GBPL. Here's what I found out for you guys:
noiseredux: First of all tell us a bit about yourself.
Kiekos: Well, I'm Kiekoes, but my real name is Bas, I'm 14 and live in Holland.
noiseredux: How and when did you first hear about Pokemon Black?
Kiekos: When the story was posted on GBAtemp.
noiseredux: What made you decide to make your own version of the infamous game?
Kiekos: Well, it's not my own, we we're discussing about the fact; is it possible to make it and then we got a team of developers, a page on GBAtemp and a website.
noiseredux: And how many people are on Team Creepy Black?
Kiekos: There are 13 or 14 people in the team.
noiseredux: How is the project going as far as have you hit any problems or anything like that?
Kiekos: The project is doing very well, we haven't encountered big problems so far.
noiseredux: Do you expect the project to be done this year?
Kiekos: We hope so but we can not guarantee.
noiseredux: How do you plan to distribute the finished product?
Kiekos: There will be a downloadable IPS Patch, users have to find their own copy of the ROM.
noiseredux: What kind of feedback have you gotten so far?
Kiekos: Well, mostly positive, some people are upset about the fact that we're doing FireRed instead of Red, but that's the only thing so far.
noiseredux: Why did you decide to hack FireRed rather than Red?
Kiekos: We chose Fire Red over the original due to the the originals engine limitation.
noiseredux: Have you heard anything either from Nintendo or from anyone claiming to have been behind the original Pokemon Black?
Kiekos: No.
noiseredux: What are the chances you might put together some actual Creepy Black cartridges?
Kiekos: Slim to none.
Now maybe what you all have been more interested in seeing, the first official screens from the project!
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If you want to keep up with the progress of Creepy Black, you can check out the website at http://projectcreepyblack.tk/.
Some of you may instantly recognize the title of this post, others of you may be curiously scratching your heads. If you don't recognize the quote, those are the immortal words uttered by the in-game announcer at the start of every race in the very first Ridge Racer game for the Sony Playstation, one of the system's ten launch titles and one of its best known racers. Many things can and have been written about the Ridge Racer series of games published by Namco, but they are interesting for this blog because five of the eleven games in the series have been in a console launch lineup. The launch titles were:
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This five part series of blog entries will look at each launch title in the Ridge Racer series and what, if anything, they did to showcase the new capabilities of each system.
Ridge Racer - Sony Playstation
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The Playstation's U.S. launch in September of 1995 featured only one game that had also been released when the system premiered in Japan the prior December: Ridge Racer. In fact, Ridge Racer was the only launch game featured in all three major game markets (JPN/NA/EUR ). It seemed clear from the start that Sony was banking on Namco's arcade hit to help sell systems.
In the U.S., Ridge Racer was one of two racing games that new console buyers could choose from when entering their favorite game or electronics store on that Saturday morning in September. The other, ESPN Extreme Games, featured an assortment of X-Games events such as street luge and mountain biking. Only Ridge Racer provided a traditional automobile racing game. So, new buyers looking to take the arcade racing experience home were faced with little choice but to buy it on launch day. As it turns out, they couldn't have done much better: Ridge Racer is an absolute gem of a racing game that accomplished many technical feats fifteen years ago and holds up well to this day.
Arcades in the U.S. were still doing quite well in 1994 and 1995, and though the focus for many players had shifted from fighting games to racing games, there was a lot to choose from in coin-ops around the country in the mid-90s. Increasingly, the best arcade games were seeing high profile ports for home consoles. During the period of time that the Saturn, Playstation, and N64 were released (between May 1995 and September 1996) each console had a racing game associated with it, a game that promised to push the limits of the console. For Nintendo, that game was Cruisn' USA (though the game didn't make the N64 launch). For Sega, the game was Daytona USA. For Sony, it was Ridge Racer.
At the time, I was a die-hard Sega fan and insanely jealous of my friends who were able to enjoy their copies of Daytona USA at home. Sure, the Daytona USA port didn't look arcade perfect, but it seemed close and impressed me nonetheless. When I couldn't play on a friends' Saturn, I would still frequently pump quarters into the Daytona USA arcade machine as my home racing was limited to Virtua Racing for the Genesis for several more years (an excellent game in its own right). By the time I finally joined the 32-bit generation and picked up a Playstation in late 1996 (skipping the Saturn altogether!), I was anticipating the release of new racing games for the PS1 (most notably Gran Turismo) and passed on picking up Ridge Racer. I'd had my fill of racing with Daytona and Crusin' and decided to pick up games for other genres in the interim.
So, I only recently acquired the classic PS1 launch game, and now wish I had done so a decade ago.
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Early PS1 games didn't feature many of the icons on the back indicating compatibility with memory cards, number of discs, etc.
As a launch title, the game is significant for several reasons:
The graphics. There's no denying that an important draw for purchasers on launch day is graphics horsepower. The graphics put out in the PS1 port of Ridge Racer are simply better than they were for the Saturn port of Daytona USA. The polygons are less blocky, the sense of speed is faster, and the scenery is more diverse. There are usually more things happening on the screen at any given time, and aside from the poorly designed menus, the interface is quite polished. Daytona may have been better in the arcades, but if these racing games were meant to show off what the system could do, Ridge Racer was an early harbinger of the doom of the Saturn. Ridge Racer's graphics are bright, pop in is quite good for a first-gen title, and the scale of the landscape surrounding the courses is impressive.
It allowed you to choose your own music. Once the game was loaded and a race started, you could swap out the Ridge Racer CD for your own favorite disc. The game would then randomly select tracks on your CD to play while you raced and navigated menus. Since Daytona USA was a frequent point of comparison at the time this game came out, I should note that I also prefer Ridge Racers original music over Daaaaay-tohhhhhhh-nah's ( especially given the "classic" nature of the latter's songs). That said, nothing beats choosing your own musical selection. In playing the game again for this post, I chose the era-appropriate Beck album "Mellow Gold." Hearing track 11 playing over the credits was a sweet bit of randomness. In an age where CD sales were really catching on, this was a nice way for the Playstation to showcase its versatility.
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Place this in the CD drive to make Ridge Racer unplayable.
It featured a mini-game with a generous reward during the only loading screen. Popping Ridge Racer into a console usually meant a few resets until all the enemies in this one screen version of Galaxian were cleared. Clearing all the enemies in the limited time granted you access to three times the number of cars that would be available otherwise. Not only did you have more options, but many of these were better cars. Furthermore, the game only loads once at the very beginning, a welcome change from the frequent and frustrating waits experienced by owners of many other CD-based consoles at the time. The fact that the loading screen is a game itself was icing.
The game featured a hefty amount of unlocakbles. There were certainly games with unlockables in the previous generations, but Ridge Racer was one of the first CD-based games to offer multiple versions of tracks to unlock, cars that could be won, and other goodies for the devoted player to discover. The ease of saving data on a memory card (times, unlocked tracks, etc.) meant that you could take these unlocked items with you, one of the key selling points for Sony's console.
[img width=314 height=235]http://i429.photobucket.com/albums/qq17/dsheinem/rrback.jpg[/img]
The back of the manual provided alternate cover art.
Taken as a package, it is easy to see why Sony pushed for Ridge Racer to see a release in every major region on launch day. Better racing games would eventually come, but compared to racers on other consoles that preceded Ridge Racer, Sony clearly had the upper hand and could better capitalize on the ongoing arcade craze. The game is far from perfect; it is single player, some of the drifting feels too loose, the various tracks are all variations of one main track, the announcer voice is annoying, and the difficulty ramps up considerably in later stages. However, the game is still worth playing today despite these weaknesses, if only to appreciate how different it was compared to what had come before. The game would go on to see huge sales and win numerous awards in the next year. It would also become Sony's first pack-in game.
Ridge Racer spawned over 10 sequels. We will revisit some of those games in future installments.
Next Up: an "end game"
Regular readers of the Game Boy Player Land blog surely know that I'm an active member of the Together Retro game club at http://www.racketboy.com. This month's game is the legendary NBA Jam, a game that I loved in its SNES incarnation. However, something recently piqued my interest: the fact that Acclaim attempted to bring NBA Jam to a Game Boy cartridge not once, but five times since the birth of the classic franchise. That's a lot of ports, but are any of them any good? Well luckily for you, I played them so you don't have to. Let's take a look...
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The original NBA Jam was ported to Game Boy in 1994, and it does a surprisingly decent job of bringing the original game's feel with it. Of course there are important omissions. There's obviously no "he's on fire!" commentary for instance. But the game does offer up an acceptable two-on-two arcade basketball experience. The biggest problem with the game (which we'll see across the board) is the logistics of the controls. The START button is the Turbo button on the Game Boy port, which was incredibly awkward on the original hardware. Luckily if you're playing this cart on the Game Boy Player then the Gamecube's proprietary controller actually makes this a more comfortable layout to utilize. In fact, this could be one of the only Game Boy games I can think of where I'll opt to use the Gamecube controller instead of the Hori pad.
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NBA Jam: Tournament Edition was released a year later. Unfortunately it wasn't the upgrade that SNES and Genesis received. Those games were flooded with new features and mountains of Easter Eggs. To be honest, I'm really not sure what the differences are in the Game Boy port of T.E.. In fact, I've heard that the original NBA Jam Game Boy game did in include some hidden characters (though I've never found them myself), while all sources I can find on the subject say that T.E. (and all subsequent Game Boy series releases for that matter) removed hidden characters altogether.
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NBA Jam 99 made the jump to the Game Boy Color and it was completely anticlimactic. Sure it's nice to see some colorized sprites, but somehow this game looked less like an NBA Jam title than the earlier Game Boy releases. Really, this game could be any old two-on-two basketball game. Though in fairness, it plays about the same as the Game Boy titles, so if you're really against black and white graphics then this could at least be an option to you.
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Much like the subtle (or pointless) upgrade from NBA Jam to Tournament Edition on the Game Boy, the release of NBA Jam 2001 was really a bit of a head-scratcher. Other than the slight roster update that would come from two years of drafts, really there wasn't much to make this a noticeable upgrade. Same old non-impressive graphics. Same old gameplay from the 1994 Game Boy edition.
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If ever there was a system that should have an NBA Jam port it was the Game Boy Advance. Indeed, many of us GBA enthusiasts tend to lovingly think of our handhelds as a portable SNES. And why not? The GBA was technically capable of 32-bit games (or so Nintendo bragged), so handling an eight year old 16-bit title should have been no problem, right?
How sad it is then that NBA Jam 2002 is actually the absolute worst game that the franchise has ever released. Yes, that's right. I'm actually telling you that the original GB game with it's awkward control scheme is a far better game than this.
First of all NBA Jam 2002 was able to utilize the GBA's hardware to at least alleviate the difficult control issues of earlier GB titles. But that might be its only strong point. You see it looks terrible considering the hardware it's running on. And though they were smart enough to bring an announcer back, he will annoy you within about 60 seconds with his limited array of voice clips (none of which include "he's on fire!" if you're wondering). The graphics are horrible. Indeed even when the ball goes through the hoop, it sure doesn't look like it. I really can't tell if I made a basket or not without keeping a close eye on the score. And the gameplay is just as terrible. Dunks are missed often, while three-pointers from the other end of the court are a breeze. And for some reason professional basketball players have a really hard time inbounding the ball without causing four or five turnovers in the process. I could go on, but I think you should just trust me when I say that this game is just really bad. No matter how good you know it should be.
[img width=300 height=200]http://imgur.com/4zo8Tl.jpg[/img] [img width=300 height=200]http://imgur.com/EaEDfl.jpg[/img]
Apparently Acclaim also had plans to bring an updated NBA Jam title to the Gamecube in 2004, but that never materialized. A part of me thinks this could have been amazing if it was going to be anything like the retro-fitted Wii game that's set to be released in October. But from the preview screens, it's hard to say how it would have actually panned out (see above).
At any rate, it's funny to think that there are five versions of this game available for the Game Boy line, and yet all I can do is wonder just how good SNES emulation is on GBA hardware. Yikes!
It's been a while, hasn't it? I didn't realize until just now that I didn't do a single one of these in July. But, there is a reason for my absence. You see, with that last big haul, I simply had to take a break from hunting. I didn't have room to sort any new treasure and really didn't have any money to buy new treasure anyway. While I still need to work on the money part of it, I have made enough room to start buying again, so I started going to garage sales again this weekend. I went for a full day Friday, but couldn't this Saturday because I had a family reunion to go to. Anyway, on to the treasures.
Continue reading Treasure Hunt Chronicles 2010 - #7
In November of 2002, something big released into the gaming world. Something that has had a ripple effect, forever changing the landscape of interactive entertainment. Something that may outlast motion control, 3D, and other previous innovations that were further enhanced and repackaged for our newer consoles. Its scope rivals the development of online play, and as long as games continue to develop with online features, it may never go away. It is something that its own developers would likely never truly understood the impact, nor the millions of gamers that now refuse to live without it. A new form of gamer identity.
Xbox Live released in November 2002, and while the network fought terrible bouts of lag, the voice chat rarely worked as promised, and the game support itself started slow, Microsoft also implanted something of which took years to see the true effects . As part of the design to separate paid Live accounts, you had to create a gamertag, a sign-on, an account by which all your save games and settings would be remembered.
You created your gamer identity.
Now before I get called out as a Xbot fanboy and all of the other colorful terms used to describe myself, family, and dog, hear me out.
In the beginning, God created the Arcade. And it was good. We plunked in a few quarters, got mauled, came back for more. And as our skills grew, we saw those high score initials pop up, a silent challenge by those strange three letter signatures. Most of us probably just shook our heads and walked away, but others, we took that challenge, and would play game after game, wordlessly making a bet to ourselves and that stranger that our own three letters would surpass them. It spurred us on, and when our name made it to the top, we were the king of the world- or at least, the block that machine was in. Our initials on a high score board was the first step toward claiming our gamer identity, letting others see us, if just locally, putting our stamp on the digital domain. It may seem like a huge jump, but decades later having your name imprinted on a computer moved beyond game competitions, and would develop into Facebook, MySpace, and a whole list of methods by which we use to write our digital signatures, our virtual identities. But back to the more important subject: Games.
While high score tables grew into the home video game market, it would take a few more years and more complex role playing and adventure games before you were able to put more content and progress behind a saved name. The original Legend of Zelda, a console game breakthrough in many regards, allowed you to put in your name at the beginning, and all subsequent progress, every heart container found and every dungeon conquered, was saved under your own name. It was a mark of pride, of identity, to see that progress listed under whatever name you gave your file.
And then things didn't change much for a few decades. Super Nintendo, Playstation, Nintendo 64, Dreamcast, Playstation 2, Virtual boy, 3DO, Jaguar CD, even PC. Sure, more games let you name your own proof of progress to show others, and virtual worlds became open and big enough that you could alter something permanently and then call it your own, but gamer identity stayed private, impersonal, isolated from one game to another. Attempts were made to connect who you are to the game you played, but nothing really progressed.
Then comes the Xbox. Using the ubiquitous computer method of logging into a user ID for personalized content was the first subtle transition. Combined with Xbox Live's cross-game connection with your gamertag, a whole new realm of gamer identity opened. Now, if EnderBuggerKiller7 passed you in MotoGP, a day later you might be popping EnderBuggerKiller7 with a PPC in MechAssault, and it was the same guy! The importance of cross-game connectivity was more than mere novelty; for the first time, you could keep a name, a unique identifier, through every online game, and it would stay consistent. Get to the leaderboard in one game, and people would check their own favorite game's leaderboard and see if you were in their turf too, another silent challenge from a name on a table that we mostly phased out of since the glory days of the arcade. With voice chat, the challenge didn't even have to stay silent anymore- you could send a message or talk in-game, egging each other on or discussing strategies.
But if cross-game consistency opened the door for the future of gamer identity, it was kicked off its hinges with the invention of the gamerscore. The true expansion of the idea of global leaderboards, now your entire current-gen gaming career materialized, open and visible, and with it a new sense of progress and identity. Now, you could compare not just a high score in an individual game, but how many games you had completed, conquered, squandered, or wasted time with. You could look up to see if someone had found a secret you missed, ask them for help through voice chat, or just play together. In its ideal form, Xbox Live is designed for community and competition. That it sometimes seems to mostly consist of tweens with infinite amount of time to master a game and a dialect almost entirely comprised of racial epithets and sexual slang (with video chat to match!) is unfortunate, but expected when you hand the keys to the Ferrari over to your little siblings. It's just a matter of time before they crash it and take out a few innocents on the road with them.
It might seem like I'm giving Xbox Live too much credit for not much of a big deal. But the effects of these developments have exploded into every aspect of our gaming. Nintendo, not ready or willing to break out into the online scene just yet, creates Miis; virtual representations of your identity. The Mii represents the same creation as the Gamertag, a virtual identity through which all of your gaming progress is tracked. Instead of universal achievements, you get an entire calender with notes that represent the progress you have made. Not just in games, but almost all activity on the Wii. A look at the calender notes on the Wii reads like a different format for the 360's data tracking, with the same intent; to give you a sense of identity, of accomplishment, of easily tracking your activity. Microsoft would famously copy the Mii idea with a nearly identical Avatar system, attaching you yet again to your digital self. Xbox 360 even imported the Windows method of a small picture, user chosen, attached to the gamertag. Further Avatar customization has become its own marketable, profitable expansion.
Even Sony got into the act, with a profile crossbar system that debuted on the PSX DVR, and then on the PSP and PS3. Now, it's not as simple as putting a game in and just playing- you pick your Profile/Mii/Gamertag, the representation of your global gaming identity, the some of all of your gaming progress on that system. Sony's Home, a derivative of Second Life (which itself is, like MMOs, is a form of expanded digital identity on a wide social network) takes the concept a step further and removes the gaming aspect as a necessary item, allowing a social or exploratory side of digital identity.
While the concept of these unifying systems may seem like a natural progression from our early gaming days, the impact it has on our gaming cannot be understated. It shows no sign of ever going away. We now prefer a game for our PS3 or 360 because we want the trophies/achievements. We feel a sense of loss if we play a game together and can't log on to our own accounts for the representation of our presence. As long as trophies and gamerscores carry over to the next console generation (and they assuredly will,) gamers will buy a system just to keep their numbers growing. I remember playing a DS game and feeling disappointed that I put several hours into the game and would not get anything for my gamerscore out of it! (I'm over it now, as well as buying crappy games to boost my gamerscore. Now I just buy crappy games cheap to boost the collection  ) Many of us try to avoid Miis and Avatars altogether, but they have proven to be so popular that a new incarnation of them will likely stay with us on future gaming systems.
You may not care about trophies or gamerscores. You may just click past the Miis to get to the game. You may never get online, and you may care less about a gamer identity. But the industry has spoken. The methods may change up a bit, but the infusion of gamer identity has fully integrated into our industry. And with the advent of digital downloads and add-on content for even single player gaming, there is now a more justifiable monetary reason to keep track of your digital self. It may never recede.
It is now practically unthinkable that we would buy a new console and not have some type of identity system we log on to, that keeps track of all our private save games, features the name people identify as who we are, and unifies our identity, online or off. The days of just finding your save-game, unattached to any profile, on your PSX/PS2/Dreamcast/Neo Geo memory card is long gone. Now, with the exception of a few portables, we either log on to a virtual identity, or we don't play.
Is it a good or bad thing? Both. Recently, when Blizzard Entertainment suggested the idea of posting the real identities of users inside forums, a sudden and powerful backlash resulted in the company nixing the idea. The privacy element of keeping our virtual identities separate from our real identities will grow more and more important. While there are dangers with any medium that allows role-play, it must be noted that these issues were not the same as when two kids popped in Super Mario Bros. As our electronic entertainment yields more complex, interactive universes, so too will players yield greater personal investment.
We will all feel different about the methodology. Yet our industry moves ever onward. From Combat to Modern Warfare, from Tetris to Peggle, we will continue finding ways to fulfill our wishes of living out an identity that is just outside our own. However, as with any entertainment, the impetus to stay responsible with our identity is on us, the players.
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Habitual readers of the Game Boy Player Land blog are well aware of my affiliation with http://www.racketboy.com and the Together Retro game club. July's game was Ecco The Dolphin, a game I had never played until now. Though I had a Genesis at the time of its release, I remember thinking that it was a kids' game. And to be honest, I had never really thought about the game since. So when the game was announced for the game club, I looked forward to it. The concept of exploring the vast oceans in a game that was known more for puzzle-solving than violence seemed like a wonderful change of pace to me. How naive I was.
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When I first fired up the game courtesy of the Sega Smash Pack available on the GBA, I found myself in the kind of open-water level that I imagined. The music was ambient, and although slightly creepy it was indeed relaxing. I was amazed at the wonderful graphics. My understanding is that the GBA port is based a bit more on the Sega CD version than the Genesis version, which was apparently a bit easier. However, the GBA version has a few less levels than the Sega CD version, so it's not a straight up port either.
I breezed through the first level without much problem, and felt like I was really going to enjoy the game for the month. But here's my actual notes that I kept while playing the game since it utilized a password feature rather than any battery saves:
Ecco The Dolphin
KRMCSRDK - Undercaves - 7/1
YJ.TFNFF - The Vents - 7/10
N-VSZKKY - The Lagoon - 7/11
And that's it. Perhaps you're wondering what happened to my momentum? Well, let me try to recap. I spent about a week in the stupid Undercaves. As it turns out, this game is horribly hard. And I'm not the type to shy away from a hard game. I mean, I can get knocked around in Ghosts N Goblins and actually have a good time. No big deal. But this game is just a total jerk. Apparently everything hurts dolphins! And if you try to swim away from whatever hit you, it will hit you three more times as you clumsily try to get away.
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To be honest, I would have just left Ecco in the Undercaves to rot if it wasn't for the fact that I really wanted to see the Octopus for myself. So I stuck with it, and made it past the Octopus. And then for a glorious two-days I made some progress. And then I just plain stopped playing. I just couldn't face the game anymore. It just stopped feeling fun to me, and there were so many more levels ahead. I wanted to stick with it, because I've always really tried to do my best with the Together Retro games. But playing Ecco just felt like I was being punished.
I will however end on by saying something positive about the game: it features some of the most beautiful 16-bit graphics you'll ever see. For instance, this has been my desktop wallpaper all month...
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When A Link To The Past was ported to the GBA in 2002, it was a pretty big deal. Especially to me, since -- if hard pressed -- I would concede that my favorite game of all time would be A Link To The Past. It is to me the finest example of what makes a Zelda game a Zelda game and more importantly, what makes 16-bit gaming untouchable. There's such a perfect balance between limitations and technological mastery found in that cart. It's probably the one game I've replayed more than any other. So when it was ported the GBA I was more than thrilled to now have a portable version. And when the Game Boy Player was released it meant that I could start a dungeon sitting on my porch, and finish it in front of my TV. And other than some added (and maybe annoying) vocal clips, it was a pretty perfect port of the SNES classic.
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To me, a great port of A Link To The Past was a good enough reason to pick up the GBA cart. But to others there was a far more exciting selling point: Four Swords, a bonus game that allowed you and three friends to chain together your GBA's and help each other through a short quest, each of you as a different colored Link. Unfortunately, I didn't get to try that one past the intro screens. You see, it's not available in a single player mode. And I'm a loner, Dottie... a rebel.
Now surely you'll tell me that a single player mode would have defeated the purpose of Four Swords. We've already played a single sword adventure! you'll yell. And that's all fine and good. But multiplayer requires each Link to have his own GBA as well as his own copy of the game, and I don't have any gamer friends "in real life" as they say. Sure I come on and here and post my little rants, but my actual gaming is generally spent by myself only after work, dinner, and real life responsibilities have been fulfilled. It's relaxing time for me. It's not party time. And like I said, unless they make GBA link cables that can reach interstate, I don't even know anybody who could play Four Swords with me.
Which leads me to the point of this post: Four Swords Adventures, a Gamecube exclusive that I pretty much never notice anybody mentioning when discussing the Zelda cannon. Which is strange to me because it's actually a very unique, and awesome game.
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When Four Swords Adventures is mentioned, the emphasis is always on the multiplayer potential of the game. And surely that's understandable. After all, it is the game's major selling point. It was also one of the first games to successfully integrate the Gamecube/GBA connectability. Four Swords Adventures is meant to be played using the TV as the "main screen" but with each player using a GBA as their own private screen so that they can split up from the party without interrupting anybody else. It's certainly an ingenious approach. There's no denying that.
For a long time I avoided the game, assuming that much like the GBA side-game this would be a multplayer-ONLY affair. But once I discovered that there was a single player mode, the game became must-own for me.
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One thing that never seems to be mentioned is that the single player campaign in Four Swords Adventures is actually a lot of fun. Certainly it's lacking the same exploration that's found in most Zelda games -- as the quest is actually quite linear, but it's still a great game.
Upon its release many critics seemed to put the game down for reusing 2D sprites that didn't show off the Gamecube's potential. Be that as it may, the 2D sprites are a selling point as far as I'm concerned. Here we have an amazingly presented Gamecube quest that goes back to basics and delivers a game based on the classic Link To The Past or Link's Awakening style. As far as I'm concerned, I'd be happy if the series never stopped using these sprites. I like what I like. And I like this. Likewise, much of the music is pulled from the SNES classic -- a point that most critics blasted, while I applauded. Really, what's so wrong with embracing perfection?
Admittedly Four Swords Adventures will not last you nearly as long as A Link To The Past. As I previously mentioned, it's a linear quest which means there's a lot less guess work of the "where do I go next" variety. But at the same time, it's filled with some rather clever puzzles, excellent controls -- which is needed when you're in charge of four characters at once, and some truly awesome boss battles which thrills me to experience in the 16-bit style. If you've been avoiding this one because you thought a single player quest in a multiplayer game would be worthless, please do yourself a favor and add this to your collection now.
Value is a topic that comes up a lot in video gaming nowadays.
Recent Xbox Live and Playstation Network game pricing seems to be the argument du jour, with indie favorites Braid and the recent Limbo under fire for disproportionate playtime vs. price. The last few years have also given us both Modern Warfares, a few Halos, both Gears of War, and other AAA titles with campaigns lasting six hours or under (depending on difficulty setting and other factors, of course.) Indeed, the last two console generations have seen a serious rise in critique over game lengths, with the most recent high definition consoles' higher priced games leading the charge that we as gamers often just aren't getting our money's worth anymore.
But what gives something value? Is it the length of the game? The graphics, sound, and gameplay? The quality of the experience? The presence of tubby Italian plumbers that, despite their claimed occupation, are more often observed playing various sports and throwing parties rather than doing anything even vaguely plumbing related?
Value is usually balanced on the scales of public opinion, but here's the most interesting fact about it: it is completely subjective. I cannot force my sense of a value on anyone else, and their concept of value will be different than my own. I may persuade, I may cheapen, I can present cases for and against all day long. At the end of the day, I may convince some gamers that my Neo Geo AES and games are worth the money spent, but that guy with every Neo Geo game on his modded PSP or XBox will never see it as such. Value is an extension of opinion. And as we all know, opinions are like crazy, conspiracy-spewing, Hawaiian-shirt-wearing uncles: everyone has one, and they are all wrong.
One thing that has spoiled our gaming masses for far too long is the typical price-point of our systems and accessories. I believe we gamers often have a very unrealistic expectation when it comes to prices in our hobby, born of price stagnation outside of inflation. Dsheinem's detailed article on the Atari 2600 VCS mentions that some launch games were within the $20 to $30 price point range- and that adjusted for inflation, gamers were putting down between $70 to over $100 back in the late 70's.
In '92, I bought Axelay at my local KB Toys for 79.99. (I remember very clearly saving $50 and then having to borrow an extra $30 from my mom to make up the difference.) That's a twenty buck premium over our current standard pricing structure- until inflation kicks in, which puts my pricey purchase over $120 in our current futureland.
Speaking of Axelay, I can finish it at least three times over in the amount of time it took to finish Limbo. If I were using cost-per-minute as a value indicator, comparatively Limbo might as well be an MMO. Or a Shin Megami Tensei.
How many of us 'old-school' gamers paid well over fifty bucks for the original Phantasy Star, the old NES/SNES RPGs, or even older PC games like Wizardry or Ultima? Price adjusted, these games were worse than Halo 3: Cat Helmet addition.
But were they worth it?
Well, considering how fondly these games are often remembered, I rarely if ever hear complaints over their original price, unless it was about convincing our parents or saving up to buy them. Even those lore stories tend to be recalled as worthy sacrifices, the trials we endured to partake of gaming's greatest. Unless you bought 7th Saga for seventy bucks. Then you just got ripped off. ()
I find it interesting that most gamers seem to be willing to defend their beloved hobby as art, yet cry out in near unison over not getting enough 'bang for the buck' with their game purchases. If we believe that there is true merit to the interactive experiences we enjoy, why are we not defending these products based on what we receive from our personal experience with it?
I paid more for a new TMNT IV: Turtles in Time (SNES) than the cost of a new Wii game. Moreover, I've traded it and bought it again a few times over. I even bought the XBLA remake. I can finish that game on the hardest difficulty in under twenty minutes. I still think I've gotten my money's worth.
By the way, in the year I bought that copy of Turtles, a number 3 two McCheeseburger combo meal at McDonalds cost $2.99. Now, the same meal is $4.97. That's an increase of over 65% in less than twenty years. How many decades did we expect to be able to pay around $40 to $50 for a new game and completely ignore the rates of inflation?
But expectations are different now. We're seventh generation, baby! We don't buy Space Invaders for a hundred bucks: a dollar is too much to pay for an updated version on my iPhone. We're in a recession. We demand an unnecessary multiplayer component that feels forced and will remain untouched after being scrounged for a few gamerpoints or trophies. We know that despite the millions spent making and marketing a new blockbuster title, we are being overcharged for our games. EA and Activision are evil, corporate monsters who don't deserve $60 for a cut and paste sequel to what we liked before, and what indie developer is so pretentious as to think that a few years and their life savings are worth ten more bucks than we want to spend?
Here is the problem as I see it; we, as a gaming public, have grown up with games. What was once luxury is now viewed as necessity. We feel we not only have the right, but the requirement to be elitist, even snobbish, over gaming. Long ago, one or two games at most were produced a month, and we salivated over them, shared them, experienced them. Now we buy two and get one free, without care, to grind out achievements and trophies and brag that we 'beat' them so we can move on.
Nothing is inherently wrong with more games, achievements, trophies, or 'beating' games. But are we still having fun? I spent a long time and lots of money in Final Fantasy XI before I realized I did not enjoy the experience. Some love the game, and that's great for them. But it took me a while to see that I was playing simply to be playing: gaming as a requirement, not for fun. The treadmill is only entertaining while you are actually being entertained; after that, its just more work.
If you like burning through games as fast as possible and still enjoy each one, that's great. But I think that the larger our industry gets, the more we have to come to respect everyone else under the gaming umbrella. I hear plenty of complaints about short games. What I rarely hear is the opposite complaint: this game is not a good value for me because it is just too long.
I have a wife, three kids, an imaginary Rabbid and a ton of housework. They all need my time. (Except the Rabbid, I just give him imaginary time.) If every game I want to play is twenty or more hours long, I either neglect my responsibilities or I don't finish many games. A game with a campaign that is more than eight to ten hours long is not a good value for me if I want to play other games. I just don't have the time, and I will want to play other things. If I am going to spend $50 to $60 on a game I intend to finish, I want it to fit my constraints, otherwise it is not a good value to me.
Portal comes to mind. Though there are detractors over the game's length, many critics and gamers have stated that its four or five hour run time was about perfect. It told a story, invented interesting gameplay mechanics, and stayed just long enough to not wear out its welcome. Unless the pacing and mechanics were radically altered, a longer experience with Portal would have likely began feeling more drawn out and even dull. There are timing challenges, speed runs, and mods for those wanting to stretch it out further, and even a sequel that promises to expand the formula into something that supports a longer, expanded game. But arguably, Portal 2's greatest challenge will be to match the superb pacing of the original.
I don't want every game to be done in a few hours. I just want developers to know and gamers to respect that we are all different, and remember that just because a game takes a long time to complete doesn't mean it is a better game. If the game I want to finish is a quality experience, and the pacing, momentum, and flow are well realized, I want to be able to get to the end! Stretching it out does not make it better or more valuable, it just means I am less likely to complete it before moving on. According to developer Remedy, only 30% of players finish a game they start. If I buy a Big Gulp because the pricing means I get more Mello Yello per penny, and take two sips before tossing it aside, was it a better deal than the small cup that had less drink, but the correct amount I wanted?
The Playstation 3's launch is another perfect example. Touted as the next gaming need, it provided Blu-Ray, HD graphics, a hard drive, HDMI output, USB ports for your USB supported hair dryer, and the weight of a Mini Cooper. The early adopters bragged that it was well worth the cost for the Blu-Ray player alone, and that for everything it offered, it was an exceptional value.
But that mentality assumes way too many things, including:
1. Do I have an HD TV?
2. Do I intend on starting a Blu-Ray collection right now? (versus waiting a few years?)
3. Are there any PS3 games out now or in the next month that I consider must-have, day one purchases?
If the answer to these are no, is $600 a good value? What price would be? The answer is left up to the individual, as any question of value is.
Collectors are in yet another level of comparative worth. Stadium Events for tens of thousands of dollars? Your 99 cent copy of World Class Track Meet is identical, save for a title screen and label. Should WCTM cost more? Stadium Events less? All in the eye of the beholder. If it is worth more or less to you, congratulations: you have an opinion. Is a BMW worth tens of thousands? To some, yes. My Subaru does just fine by me. Am I wrong, or is the BMW owner? Neither and both. To many people, my Panzer Dragoon Saga is not worth even the cost of a current new game, much less what it goes for now. But it was worth every penny to me, and to argue against that is to simply admit it is not worth that price for you.
I would like to end with the admonition that yes, gaming can be expensive. Most gamers have very limited budgets for gaming. Of course we want our money's worth. That's why we research to find out what is worthwhile to us individually. Millions of fans bought maps for Modern Warefare 2 that are worthless to me, yet cost the same as the entire game of Limbo. But the few hours I put into Limbo was worth more to me than all the hours I put into Final Fantasy XI or the recent Resonance of Fate. It won't be worth as much to many others. But to say a game is not worth a certain price, period, end of story, is insulting everyone who disagrees. Over an idea of worth that is completely subjective in the first place. For example:
If you took a million dollars of our paper currency back three hundred years, it becomes worthless; three hundred years from now it will likely become worthless again. That same million dollars today would set me up for life; for Bill Gates or Bill Clinton, it wouldn't even change their taxes. More valuable to some, less to others.
Let's not pretend any of us are universally correct over gaming value. Let's just vote with our dollars to get the things of worth for us.
And, of course, check CAG for sales.
The title Kunio-kun may not immediately ring any bells, but the chances are good that you've played one of his games. The series is incredibly long-running in Japan, but sadly few titles have been brought over to the US. And in many cases the ones that have been were completed remade to lose their very specific art-style and charm. But trust me, you've played (and most likely loved) some of these games; among them are NES cult-classics such as Renegade, Super Dodge Ball, and River City Ransom. But of course our interest involves which of the 30 or so titles made their way across the pond and landed on a Game Boy system.
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The Game Boy version of Double Dragon II actually has nothing to do with the Double Dragon series at all. It was originally released in Japan under the title Nekketsu Tough Guy Kunio: The Further Brawls and was basically a portable River City Ransom sequel. However, when Acclaim brought the game to the US, they decided to completely Americanize it by replacing all the awesome Kunio characters with sprites from the first Game Boy Double Dragon and replacing Kunio cutscenes with some nonsense about Jimmy and Billy Lee.
Sadly pretty much everybody loses. As a Double Dragon game, it's pretty boring. The controls are wonky and the levels leave a lot to be desired, especially when compared to the NES game of the same title, which is arguably the greatest Double Dragon game ever released. On the flipside, the original Kunio sprites probably would have made the game at least slightly more interesting with it's cutesy style that fans of the series are accustomed to.
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I am personally not a fan of soccer at all. And I'm not much of a fan of soccer video games. But yet Nintendo World Cup is addicting. Why? Because like the best Kunio-kun sports games it contains the classic Kunio character sprites, and more importantly it allows you to beat the hell out of your opponents. Simply put, this is a fantastic game. Though it does suffer from a bit of slow-down now and again where there is too much action taking place on the screen, it really does an admirable job of including a full team roster and the aforementioned beating the hell out of your opponents. Highly recommended!
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River City Ransom EX is THEE must-own Kunio game if you have a Game Boy Advance. The remake was helmed by Atlus, who you may know as being incredibly awesome. The game sticks very closely to the original NES version, but adds a lot of really great extras such as lack of slow-down caused by the NES' inferior hardware. The graphics are incredible, the story is well-translated, and the save feature will allow you to pick up and play your adventure anywhere you go. Trust me on this one: get this game!
As a weird side-note, there was a downside to this release. When Atlus announced the game it caused the end of another game that was in process by an indie developer. There was actually a River City Ransom 2 being worked on for the Game Boy Advance, but ultimately it seemed that Atlus' release would overshadow the unknown sequel and it sadly never materialized.
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Atlus also released a port of Super Dodge Ball on the Game Boy Advance. Much like their port of River City Ransom the cover art completely sucks. The gameplay on the other hand is fabulous. Luckily Super Dodge Ball Advance supports multi-player gameplay, which fans of the original game know is a necessity. The graphics are all really impressive, although for some strange reason Atlus decided to completely remove the Kunio sprites and opted for a decidedly more American looking game. But fear not, at its heart this is still a very polished remake of a fan favorite. Definitely worth tracking down.
Much like I had hinted at in the Double Dragon II description, there are also an incredible amount of Game Boy and GBA Kunio games released in Japan. Almost every sport has been given the Kunio treatment for instance. However, the full game list is a bit out of the scope of this blog post. But if you've played any of those, I'd love to hear your thoughts on which are great and which are not.
Easily the most popular early cartridge based system, the Atari Video Computer System (a.k.a. Atari 2600) would forever change entertainment in the home. This entry takes a quick look at what gamers encountered when picking up the system almost 33 years ago.
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The VCS launch itself was a delayed event, held up due to some legal issues between Atari and Magnavox. Magnavox (makers of the Odyssey 1 and 2) owned the rights to publish Atari games through June of 1977, and so even though a working version of the VCS was ready in 1976, Atari waited until that contract was over so they could publish their games for their own system. In June of 1977 the contract expired and Atari brought the VCS to the Consumer Electronics Show in Chicago (which, incidentally, was the same show that introduced VHS to North America).
A few months later, on October 14, 1977, the console was released for $199 (or $249, depending on which source you read) in the United States. This initial VCS unit (later nicknamed the Heavy Sixer for its weight and number of switches) launched with nine titles. Surprisingly, the system had trouble maintaining sales, failing to sell all units shipped in 1977 or 1978 (it wasnt until a home port of Space Invaders hit in 1980 that the system really started moving off shelves).
The nine games released for the VCS at launch were Air-Sea Battle, Basic Math, Black Jack, Combat (as a pack-in game), Indy 500 (with driver controllers packed in to a big box), Star Ship, Street Racer, Surround, and Video Olympics. Customers browsing store shelves on launch day that October had these titles to choose from:
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Launch games were sold in gatefold boxes (they open up like a book, similar to Odyseey2 boxes), a packaging style which was discontinued after the first year of (relatively poor) sales for the system.
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I had some difficulty tracking down prices for new games, but based on what I found $20-$30 seems like a reasonable guess. Adjusted for inflation, that is $70-$105 a pop today! Purchasers could console themselves with the fact that they got multiple games, or modes, per purchase. With the exception of Blackjack, each game offered between 8 and 50 different games in each package, with the number displayed prominently on the box.
I plan to look more closely at some of these games in future installments of the blog, but there are really only a few titles that seemed to have much staying power through the life of the console or today. Combat is the obvious gem, but Indy 500 and Video Olympics both made this informal poll of AtariAge readers Top 100 2600 games of all time . Past those three however, the rest of the launch games are a mixed bag. Air-Sea Battle and Star Ship both offer some fun shooting, and the latter actually shows off some interesting graphics for a launch game. Surround is more or less a Tron cycle style game, and Blackjack is, well, blackjack (a very tough version played with a paddle controller). Woe to the poor kid whose parents brought home Basic Math or Street Racer, both of which were low points in fun for the launch lineup.
If you wanted to pick up four titles with your new system, you would be looking to spend about $300-$350 in 1977, or about $1000-$1200 today. By comparison, a 60GB PS3 at launch with four games and an extra controller would have cost about $900.
A few things stand out about the system launch.
For one, the titles of most of the games were very basic and descriptive, a strategy also used by Nintendo when they launched their NES in the U.S. some seven years later (with titles like Tennis, Kung Fu, Baseball, Golf, Pinball, Duck Hunt, etc.). This simple naming practice, paired with what continues to be some of the most imaginative box art ever produced , allowed for shoppers to easily identify what kind of game they were buying.
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Also notable is the lack of any well known arcade games, games based on movies, or any other connections to popular culture of the mid-late 1970s (the first arcade port would be the aforementioned Space Invaders a few years later). Atari basically had to launch a system featuring games with no known properties, something that has not been done since.
The inclusion of a pack-in game, a practice that has fallen out of favor with many of the more recent system launches, is significant. Not only did it give purchasers the illusion of extra value at the register, but unlike pack in games for some other systems (Super Mario Bros., Altered Beast, etc.) Combat doesn't have a single player mode. This sent the message to consumers that the VCS was meant to be played with others and that multiplayer gaming was the foundation for the console. This message was reinforced by the inclusion of two joysticks, another practice that has unfortunately dropped out of most system launches.
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Indy 500, which was released with the driver controllers in a bog box, is also an important title for its inclusion of accessories. While pricing information is scarce and unreliable, Indy 500 most certainly would have cost more than a standard game because of its inclusion of these controllers. Like modern console manufacturers, it seems Atari recognized that money could be made selling additional hardware, controllers, cables, and other add-ons for their system (the 2600 would see many accessories over the years). Starting customers out on launch day with some extra hardware made good fiscal sense.
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As a whole, it seems that the launch of one of the most successful game consoles in history did some things right (pack-ins) and some things wrong (no known IPs). Fortunately for Atari, they did enough right to sustain the VCS for a few years until it really became popular with the addition of licensed titles. Tracking down the original launch games and the Heavy Sixer itself in the original boxes would be quite a daunting task today (the Heavy Sixer alone fetches a hefty premium over the other models on eBay), but I'd love to hear from anyone who has done so or who remembers the launch itself.
At RF Generation, we're always growing, whether its new members or new games, some part of this community is always growing. Today, I'm announcing the growth of our staff here at RF Generation. Three members are joining the staff, one is joining the ranks of the DB staff and two are joining the Bloggers.
Joining the DB staff as a DB Contributor is Shadow Kisuragi. Shadow has been a member since June 2009, but only became active in submitting this February, but in that time, he has made over 700 submissions.
Joining the bloggers as Blog Writers, are noiseredux and slackur. Noiseredux is the one responsible for all those Game Boy articles you've been reading and loving these past few months. So look forward to those, and maybe even some new things in the future!
If the name "slackur" sounds familiar to you, its because he's that guy you're jealous of because he has a bigger collection than you. That's right, he has the largest collection of anyone listed on RF Generation, but not only does he have a lot of games, he writes about them quite nicely. So look forward to his unique style of writing about all kinds of topics in the future.
So take the time to congratulate these members, they've worked hard to achieve these positions, and they deserve all the thanks they can get.
But wait, there's more! Long time Blog Writer, Crabmaster2000, was also upgraded to Blog Contributor due to his hard work and continued dedication.
Now, if you think you have what it takes to join the staff here at RFG, we're always looking for more staff members. If you'd like to considered for the next round of hiring, send me a PM, or do what these people did and make it obvious that you should be on staff by submitting every chance you get or blogging about your gaming or collecting life like there is no tomorrow.
It has been compared favorably and otherwise to everything from Braid to Ico. In truth, Limbo is a sum of several familiar gameplay components, wrapped in a dark, morbid, and mysteriously surreal narrative. What it is not, is for the faint of heart. Or wallet.
Gameplay consists of platforming, with only a jump and a contextual interaction button adding to the standard left and right movement. The sensitivity of the left analog stick determines walking, running, or creeping along, and that's it. No ducking, looking around, or direct combat. This streamline approach, rather than confining the experience, focuses the player on the two biggest features of Limbo: the environmental puzzles and the atmosphere. Oh, the atmosphere.
Limbo's palette is black, white, and grays, and nothing else. Instead of using this refined spectrum to construct high resolution and detail, the designers use the opposite extreme to grand effect. The visual filters and muted shades paint a dreamlike visual experience that is unique and immersing. Background and foregrounds are at a constant haze. Environments feature sparse lines and sharp angles that just barely convey a sense of open woods, labyrinthian underground tunnels, and complex industrial areas. Indeed, the world of Limbo only roughly sketches its home, then hands the pencil to the player's mind to draw the rest of the details. Where this could be easily viewed as pretentious or even lazy on the developer's part, the design is definitely purposeful, as the rest of the tools are clearly in the iron grasp of talent.
The animation is top notch, with subtle particle effects and little details emphasizing every action. Many clues are given for gameplay as well as narrative in the smallest of touches. The audio wisely follows the consistency of the visual design; sparse, light overtones occasionally punctuated by dramatic flair, and effects that will make the player much more squeamish than the persistent visual violence. I began playing with two friends watching, but before the hour mark I was alone. This brings me to an important point:
Limbo's content is not for everyone.
There is implied murder, torture, gore, drowning, dismemberment, and very dark themes. Without giving away spoilers, some actions will likely stun you in their graphic nature. This is not Mario. It is not Braid. It is a game designed around a certain theme, and that theme is played out fully. In the same manner that South Park may appear to target a young audience but is designed for adults, the same could be said for Limbo.
Though I personally feel games should always be based on their own merit, and there are flavorful and unique elements to the experience that is Limbo, everyone will compare titles. As mentioned before, Limbo imbues a desolate and lonely aura likened to the PS2 classics Ico and Shadow of the Colossus, comparative indie vibes to Braid (also an 'artsy' title criticized as derivative and overpriced), along with gameplay similarities to PC/PSX's Heart of Darkness.
And if the biggest sell for Limbo is the original atmosphere (and it most certainly is), the other is gameplay. Physics based puzzles and platforming challenges make up the bulk of the experience, with exploration and attentive observation yielding literal eggs for completion and achievements. A chapter select allows for easy access, and the game respawns the character only moments before each mistake, again putting the emphasis on puzzle solving and atmosphere. Some of the timing elements of the game are, true to the genre, mostly trial and error, and the designers were wise to avoid any life count or continuing limitations, allowing the player to simply keep at it until done.
Which brings out Limbo's only real 'fault' making the rounds of the critic circles at large. At fifteen bucks, is a game that can be completed in only a few hours worth such a premium? Limbo would certainly not survive the current expectations of boxed retail, and as a Live arcade download only title it is expected to compete with cheaper games containing more longevity. The almighty Castle Crashers, Braid, and even Ikaruga have fielded the same complaints, and review scores are bashed in light of perceived value.
I intend to write an article on the perception of entertainment value later. As for now, it comes down to this:
Limbo is original. Limbo is exceptionally well made. Limbo is, for a certain audience, wonderful. Limbo is fairly short, even abrupt by today's gaming standards. If you are interested, play the demo. It will tell you all you want to know: do I want more of this? Will the experience be worth the money to me, individually? Will I feel at a loss for paying this much for a few hours?
I know I, personally, have no regrets about purchasing Limbo. Indeed, I consider it a gaming experience to rival my top ten. But if you play the demo and are still not sure, Limbo probably is not for you, fifteen bucks or otherwise.
As an end note, I feel that the narrative played out in Limbo is terrifically realized, despite forum debates passed to and fro over the subjective nature of the story and its details. I thought it was rather clear in its intentions, and if it is not painfully obvious by now, I also feel it was a masterfully well done experience. If you are curious about my thoughts on the particulars of the story, feel free to PM me: I don't want to ruin or cheapen the experience for the curious by posting said thoughts in a forum.
BioShock 2. Halo 3 ODST. Super Mario Galaxy 2. New Super Mario Bros. Any Street Fighter after II. Every Madden after 2000 or so.
These games, other than representing new entries in their respective franchises, don't have much in common. But one thing I have heard about all of these games, either by critics or fellow gamers, is something along these lines: "this game is unnecessary."
The general mentality behind said comments usually indicate that the game does not offer enough updates, change, or innovation as to justify its existence, especially in light of previous games in its respective series. Some, such as the numerous updates to the Street Fighter series or Madden, are largely seen as simple tweeks or balancing, with occasional new characters or roster updates. Others, such as Super Mario Galaxy 2 and BioShock 2, are critically praised as superior gameplay experiences to their predecessors, yet are deemed as not really "needed" because of how well the first game performed or was received, and that the sequels were only market-driven extensions.
For this humble industry observer, the very idea that any entertainment product is 'unnecessary' because of previous similar product is not only humorous, but self-centered and destructive.
Imagine this same take on other entertainment:
Star Wars/Babylon 5/Stargate/Battlestar Galactica/Star Trek/Any other Sci/Fi with aliens represented as humans of other color or forehead wrinkles
Neon Genesis Evangelion vs. ANY OTHER SCI/FI Anime
Baseball/Football/Soccer/Basketball/Any other sport involving teams and vaguely spherical ball-like objects
Nascar/Rally/Cart Racing/Off Road/F1/Derby/Any other sport involving a vehicle and driver
This Band/That Band/That other Band/That Boy Band/All Rap,R&B,Techno,Classical,etc
Not only are all of these modes of entertainment highly derivative of other forms of entertainment, but to a non-fan they are often indistinguishable from each other within the same genre. Try talking about the differences of TOS, TNG, Voyager, DS9, and the movies to a non-trekkie and they'll just shrug; not only can they not distinguish between them but often they wouldn't care enough to try. I know plenty of people who can't distinguish Star Wars from Star Trek. Sacrilege to me, apathy to them.
Mention a 'strike' to a baseball fan and then a bowling fan. Watch what happens when you pretend to confuse the two. Somehow YOU'RE the dumb one for mixing up a term between two silly sports involving letting go of a ball. Aren't they pretty much all the same? (*ducks various thrown sporting gear*)
I'm not even getting into music, and how so many bands sound the same and yet sometimes something new and different can be so off as to be mistaken for noise.
The healthy purpose of entertainment is to at least give relaxation, and at most to edify. Why would I get upset over another Madden this year? Even if there are no serious innovations or updates beyond the new team rosters, if the sports fan buys it and has just as much or more fun with it as other entries, who am I to say that's not enough? Is someone else having fun? Am I a 'must be something new' Nazi to the point that I can't enjoy the bulk of current or even past games? Games that, while market-driven and mostly made with profits in mind, are still designed for the point of enjoyment?
This is not an attack on innovative progression. It is an acknowledgment that 'new' is not always better, and 'same' often has the right to exist alongside it. Striving for something completely groundbreaking and different, even improved, is admirable, and NECESSARY for the healthy development of our hobby. Trying to choke the gaming public with too much of the same will only lead to stagnation. The ol' industry crash of the early 80's will always be a reminder of that. (And epic mismanagement, of course.)
But video games are a much larger entertainment beast now. There is not only room for 'new' and 'same' to exist simultaneously, but often 'same' is needed to help fund 'new'. Those years of Madden sequels, much as they are criticized, paid for Dead Space, Mirror's Edge, and other original EA IPs. I have no interest in rehashed Pokemon, but that juggernaut helped keep Nintendo's name in the industry until my beloved DS released. Not to mention that shiny and awesome looking 3DS was built off the backs (money) of Mario Karts, Mario Golfs, Kirbies, and yes, Mario Parties.
Not only are sequels comfortable for us, they remind us of what we like and why we like it. I could probably enjoy Halo sequels for years, despite a core formula that is traditionally not altered much, not to mention it being another "generic" space marine FPS. You know, I LIKE that. I know what I'm getting, I know I like it, I want more of it. If they change things up a lot, I might like it more, but I might like it a lot less. Is is worth taking a chance? Sure. But why whine when a sequel is more of the same? If we liked the first, why are we griping that we were given more of what we liked?
We also need new. We need different. We need Katamari Damacy, Panic!, Vib Ribbon, mr. Bones, Seaman, Twisted, Odama, Kinect, Waggle, Move, NiGHTs, Yar's Revenge, Super Scopes, Bongos, Loco Roco, Patapon, Myst, and especially Shadow of the Colossus. We need something at least a little different, even if it fails. Even if it turns out to be not that fun. Even when new becomes the new derivative. Our industry adapts and shifts, or stalls and withers.
Different people enjoy different things, and the fact is that many of us will buy sequels and enjoy them, even if they aren't much different. Sometimes, it is because they are not much different. As much as I enjoy the Halo games, I think the Call of Duty series tend to be just above average games, but largely derivative of each other and offer little innovation between the respective entries. (Of course I recognize the same arguments leveled at Halo.) But they are both undeniable successes, and the sequels will undoubtedly follow in the same footsteps. Is that bad?
Apparently millions in the gaming mainstream don't think so. Why argue games should be so different if so many are enjoying these games? Are these millions of gamers wrong? I think that's the wrong question.
I think the more important question is, are these people having fun?
Or wasn't that the point?
Hooray for indie developers! Not only do they sink hours of their time into a game that possibly nobody will ever play, but they do it with such unselfish motivations. I certainly assume that Nathan Tolbert, the man behind the GBA title Anguna: Warriors Of Virtue spent so much time on his game not to be rich and famous, but instead to pay homage to games that meant a lot to him -- namely the Legend Of Zelda series obviously. And that's commendable. So many of us talk crap about weak games. We talk about what we would have done had we been the ones making the game. But how many of us actually sit down and spend the time to code a new GBA game. Well, not me. That's for sure. So I salute the Nathan Tolbert's of the world because they are the ones who now have the power to keep our dead consoles alive. You see, Anguna was released in 2008, the year after Nintendo themselves killed the Game Boy Advance.
[img width=300 height=200]http://imgur.com/UTIz4.png[/img] [img width=300 height=200]http://imgur.com/UNP1X.png[/img]
Anguna is a very impressive independent release. It certainly looks far more professional than many homebrew games. And there's an incredible amount of detail included. Obviously the graphics are well-done as evident by the screens pictured. But what's really great is all the extras -- there are numerous secondary weapons to pick up, maps to find, a fully working save-feature, and even a catalog of the monsters you've come in contact with. Furthermore the game features five full dungeons to complete. This is really a deep Adventure RPG considering it was a labor of love that was worked on in free time. I'm certainly not saying it's as sprawling as a Zelda game, but it's easily the most vast GBA homebrew game I'm ever seen.
[img width=300 height=200]http://imgur.com/OF8tf.png[/img] [img width=300 height=200]http://imgur.com/fUmkP.png[/img]
What's even greater about the game is the amount of post-release love the developer has devoted to it. There is a wonderful website kept at http://www.tolberts.net/anguna/ that hosts downloads of the game in both GBA and DS format, intakes bug reports, and even offers up maps and FAQs should you happen to get stumped.
If you're a Game Boy Advance collector you may want to order a physical copy of the cart as well while they're still available. Of course you could have the ROM for free, but a cart version not only makes a nice collectible, but it shows a bit of support for a hard-working indie developer. And I for one want to encourage game designers to continue to make new GBA releases. Speaking of which, I asked Nathan if he had any plans to make an Anguna sequel, and he basically said that he had been planning one for a while but couldn't find an artist. He's currently working on porting Anguna to some other consoles, but doesn't rule out another GBA release in the next few years. So head on over to http://www.tolberts.net/anguna/ and check out Anguna for yourself, and if you really enjoy it why not encourage Nathan to continue to help keep the GBA alive?
The True Holy Grails
of Video Game Hardware | | "The Majors" |
 We have already established that the term Holy Grail is a highly subjective adjective in the first part of this series, along with identifying systems 11-20 of those that 98PaceCar and I deem worthy of this lofty title. We now move on to the Top 10 - those systems that truly are the center pieces in any hardware collection. As in the past article, we limited ourselves to considering the standard release of a console (no crazy development units, clones, protos or LE/SE editions). As in any collecting field, the more obscure and rare and item is directly impacts its price. We did not list any suggested prices for any of these systems, but some descriptors will give you a pretty good idea of their value in terms of cold hard cash (along with availability). Most of the following consoles are unknown to the standard gamer. These are systems that basically should be targeted by only the most serious hardware collector and require substantial investment. Finding these at all will take considerable effort (for the most part). OK, let's get to it - the Top 10 Holy Grails for the hardware collector. The True Holy Grails of Video Game Hardware - The Majors.
| | | 10. Bandai Pippin @WORLD |  |
In 1995, Apple Computer Inc. joined the console foray by finishing the development of a system based on a scaled down version of their System 7 OS. Named the Pippin, Apple followed the 3DO Company's lead by licensing this technology to an outside manufacturer - Bandai Digital Entertainment. The Bandai Pippin @WORLD is the North American release of this console. It is estimated that only 5,000 of these were sold during its limited lifespan.
| | | 09. Funtech Super A'Can |  |
In 1995, Funtech Entertainment Corporation released the first original gaming system in Taiwan - the Super A'Can. Produced and sold exclusively in its native country, the console and controllers feel very fragile, constructed of thin plastics that belies its strong, dark grey outwardly appearance and extremely high price tag. Very few of these systems were sold, and it has been reported that Funtech Entertainment Corporation lost $6 million USD in this venture. This is a hard one to acquire since it does have a pretty strong cult following due to the obscurity of this system.
| | | 08. APF Imagination Machine |  |
In late 1978, a company by the name of APF Technologies released a simple cartridge based system similar to other consoles on the market named the APF M1000. The console itself could then be "docked" to the MPA-10 to create a hybrid computer. The combined unit became the APF Imagination Machine and provided the BASIC program language, keyboard, 9K of RAM and could be expanded to 17K RAM, color graphics and a built in cassette recorder. Finding a complete system is extremely difficult due to the fact that these are cherished by collectors from the era (both video game and computer enthusiasts).
| | | 07. Entex Adventure Vision |  |
Released in 1982 to a lukewarm reception, the Adventure Vision had only about a year lifespan on the market before it was pulled. The consoles that were sold were fragile and troublesome, so few have survived to today. This makes it difficult to find a working example and nearly impossible to find one for a low price. It's estimated that only 10,000 of the consoles were made. Few other consoles have the star power of the Adventure Vision. It's a well known grail item that any true collector will have at least heard of. The only downside to hunting for one is that you will often find yourself bidding against hand held collectors as well as console collectors, making the interested audience that much bigger. If you want to add an Adventure Vision to your collection, you had better be ready to break out the checkbook.
| | | 06. Casio PV-1000 |  |
Casio of Japan, known for their line of calculators, decided to cash in on the console videogame craze. In 1983 Casio produced the PV-1000 console. This Japanese exclusive was below average compared to the competition (Sega SG-1000 and the Nintendo Famicom) when it debuted and met its demise quickly. This is an extremely rare item and only recommended for the ultra-serious console collector. This console lacks the fanfare of the some earlier entries, but is actually more difficult to find due to its limited run.
| | | 05. Capcom CPS Changer |  |
In 1994, Capcom decided to follow SNK's lead in the Neo Geo AES and released the CPS Changer. Based entirely upon existing arcade hits, this system produced excellent quality and game play. This system is a new addition to a very lucky member of the VGCL team - 98PaceCar. Both of us have been hunting for this system for quite a long time and have only seen it available on Yahoo-Japan once or twice. Only 11 titles were released for this Japanese system. This system is extremely pricey - expect to be competing with arcade collectors as well when trying to acquire this treasure.
| | | 04. Bandai SuperVision 8000 |  |
Notable game developer Bandai was very involved in hardware development and manufacturing beginning in 1977 with its popular line of TV-Jack pong based consoles (six total releases within two years). Building on their mild success in this arena, the Bandai Super Vision 8000 debuted in 1979 and was the very first programmable game cartridge system released in Japan (before Sega and Nintendo). This system is one of the least known amongst collectors, but its place in history is unquestioned and is truly a milestone in any collection.
| | | 03. Daewoo Zemmix Turbo CPG-120 |  |
Korean based Daewoo produced the Zemmix CPG-120 console (Zemmix in Korean means "It's Fun") that was the pinnacle of its line of MSX based systems. This console was basically a MSX computer in a console casing. It was an NTSC based machine capable of playing MSX cartridge games. All Zemmix systems are expensive and rare, but this 'UFO' anomaly is a true grail for the hardware enthusiast. Be prepared to dig out and sell any gold fillings you may have - this console is a serious investment.
| | | 02. Katz Media Player KMP 2000 |  |
The Katz Media Player is the European release of the Bandai Pippin ATMARK (itself a rather obscure system). 98PaceCar and I have never seen one of these for sale in all of our combined years of collecting hardware. This may be a questionable entry to this list since there is some speculation if this system was actually sold for retail. I can not even guess what it would take to acquire one of these beasts. If you were married to Jessica Biel, expect to pimp her for a good two years straight to pay for this peach.
| | | 01. RDI Halcyon |  |
For the console collector, there are no systems that will match the rarity of the RDI Halcyon. If you are fortunate enough to locate one, it will be the centerpiece of any collection. Little is known about the true production of the system and it is a non-confirmed rumor that the system was even available at retail. Current information tells us that no more than 10 units were built for the investors of the company, all of them by hand. It doesn't get any better than this folks - welcome to the true holy grail of video game hardware!!
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Did We Miss Any Consoles from our Two Part Series?
| Happy Hunting!! |
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